1.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
2.
Glenn Miller
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Alton Glenn Miller was an American big band musician, arranger, composer, and bandleader in the swing era. He was the recording artist from 1939 to 1943, leading one of the best known big bands. While he was traveling to entertain U. S. troops in France during World War II, Miller was born in Clarinda, Iowa, the son of Mattie Lou and Lewis Elmer Miller. He attended grade school in North Platte in western Nebraska, in 1915, Millers family moved to Grant City, Missouri. Around this time, Miller had finally made enough money from milking cows to buy his first trombone, originally, Miller played cornet and mandolin, but he switched to trombone by 1916. In 1918, the Miller family moved again, this time to Fort Morgan, Colorado, in the fall of 1919, he joined the high school football team, Maroons, which won the Northern Colorado Football Conference in 1920. He was named the Best Left End in Colorado, during his senior year, Miller became very interested in a new style of music called dance band music. He was so taken with it that he formed his own band with some classmates, by the time Miller graduated from high school in 1921, he had decided to become a professional musician. He dropped out of school after failing three out of five classes one semester, and decided to concentrate on making a career as a professional musician and he later studied the Schillinger technique with Joseph Schillinger, under whose tutelage he composed what became his signature theme, Moonlight Serenade. In 1926, Miller toured with groups, eventually landing a good spot in Ben Pollacks group in Los Angeles. He also played for Victor Young, allowing him to be mentored by other professional musicians, in the beginning, he was the main trombone soloist of the band. But when Jack Teagarden joined Pollacks band in 1928, Miller found that his solos were cut drastically, from then, he realized that, rather than being a trombonist, his future lay in arranging or writing music. He also had a songbook published in Chicago in 1928 entitled Glenn Millers 125 Jazz Breaks for Trombone by the Melrose Brothers copyrighted in 1927, during his stint with Pollack, Miller wrote several musical arrangements of his own. He also co-wrote his first composition, Room 1411, written with Benny Goodman and released as a Brunswick 78,4013, in 1928, when the band arrived in New York City, he sent for and married his college sweetheart, Helen Burger. He was a member of Red Nicholss orchestra in 1930, and because of Nichols, during the late 1920s and early 1930s, Miller managed to earn a living working as a freelance trombonist in several bands. On a March 21,1928, Victor session, Miller played alongside Tommy Dorsey, Benny Goodman, and Joe Venuti in the All-Star Orchestra, directed by Nat Shilkret. On November 14,1929, an original vocalist named Red McKenzie hired Miller to play on two records that are now considered to be classics, Hello, Lola and If I Could Be With You One Hour Tonight. Beside Miller were clarinetist Pee Wee Russell, guitarist Eddie Condon, drummer Gene Krupa, Miller composed the songs Annies Cousin Fanny, Dese Dem Dose, Harlem Chapel Chimes, and Tomorrows Another Day for the Dorsey Brothers Band in 1934 and 1935
3.
A-side and B-side
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The terms A-side and B-side refer to the two sides of 78,45, and 33 1/3 rpm phonograph records, whether singles, extended plays, or long-playing records. Creedence Clearwater Revival had hits with both A-side and B-side releases, others took the opposite approach, producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side, the earliest 10-inch,78 rpm, shellac records were single sided. Double-sided recordings, with one song on side, were introduced in Europe by Columbia Records. There were no record charts until the 1930s, and radio stations did not play recorded music until the 1950s, in this time, A-sides and B-sides existed, but neither side was considered more important, the side did not convey anything about the content of the record. The term single came into use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side, under this random system, many artists had so-called double-sided hits, where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, however, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the company wanted radio stations to play. It was not until 1968, for instance, that the production of albums on a unit basis finally surpassed that of singles in the United Kingdom. In the late 1960s stereo versions of pop and rock songs began to appear on 45s. The majority of the 45s were played on AM radio stations, by the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, with the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the dominant medium. However, the term B-side is still used to refer to the tracks or coupling tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other media have declined. B-side songs may be released on the record as a single to provide extra value for money. There are several types of material released in this way, including a different version, or, in a concept record
4.
Phonograph record
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The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken. The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison also invented variations of the phonograph that used tape and disc formats. A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality
5.
RCA Records
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RCA Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. It is one of SMEs three flagship labels, alongside Columbia Records and Epic Records. The label has released multiple genres of music, including pop, rock, hip hop, R&B, blues, jazz, the companys name is derived from the initials of the labels former parent company, the Radio Corporation of America. It is the second oldest recording company in US history, after sister label Columbia Records, RCAs Canadian unit is Sonys oldest label in Canada. It was one of only two Canadian record companies to survive the Great Depression, kelly, Enrique Iglesias, Foo Fighters, Kings of Leon, Kesha, Miley Cyrus, Giorgio Moroder, Jennifer Hudson, DAngelo, Pink, Tinashe, G-Eazy, Pitbull, Zayn and Wizkid. In 1929, the Radio Corporation of America purchased the Victor Talking Machine Company, then the worlds largest manufacturer of phonographs and phonograph records. The company then became RCA Victor but retained use of the Victor Records name on their labels until the beginning of 1946 when the labels were finally switched over to RCA Victor. With Victor, RCA acquired New World rights to the famous Nipper His Masters Voice trademark, in Shanghai, China, in 1931, RCA Victors British affiliate the Gramophone Company merged with the Columbia Graphophone Company to form EMI. This gave RCA head David Sarnoff a seat on the EMI board, in September 1931, RCA Victor introduced the first 33⅓ rpm records sold to the public, calling them Program Transcriptions. In the depths of the Great Depression, the format was a commercial failure, during the early part of the depression, RCA made a number of attempts to produce a successful cheap label to compete with the dime store labels. The first was the short-lived Timely Tunes label in 1931 sold at Montgomery Ward, in 1932, Bluebird Records was created as a sub-label of RCA Victor. It was originally an 8-inch record with a blue label. In 1933, RCA reintroduced Bluebird and Electradisk as a standard 10-inch label, another cheap label, Sunrise, was produced. The same musical couplings were issued on all three labels and Bluebird Records still survives eight decades after Electradisk and Sunrise were discontinued, RCA also produced records for Montgomery Ward label during the 1930s. Besides manufacturing records for themselves, RCA Victor operated RCA Custom which was the leading record manufacturer for independent record labels, RCA Custom also pressed record compilations for The Readers Digest Association. RCA sold its interest in EMI in 1935, but EMI continued to distribute RCA recordings in the UK, RCA also manufactured and distributed HMV classical recordings on the RCA and HMV labels in North America. During World War II, ties between RCA and its Japanese affiliate JVC were severed, the Japanese record company is today called Victor Entertainment and is still a JVC subsidiary. From 1942 to 1944, RCA Victor was seriously impacted by the American Federation of Musicians recording ban, virtually all union musicians could not make recordings during that period
6.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
7.
Mack Gordon
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Mack Gordon was an American composer and lyricist of songs for the stage and film. He was nominated for the best original song Oscar nine times in eleven years and that song has proved among his most enduring, and remains popular in films and television commercials to this day. At Last is another of his best-known songs, Gordon was born in Warsaw and moved to New York City as a child. He appeared as an actor and singer in the late 1920s and early 1930s. He formed a partnership with English pianist Harry Revel that lasted throughout the 1930s, in the 1940s he worked with a string of other composers including Harry Warren. The Internet Movie Database states that Gordons songs have used in the soundtrack of over 100 films. His close friendship with many of his artists and his ability to write lyrics that were timeless allowed him to one of the most famous members of the world of music. Thus there is no surprise that his exhibit in the Songwriters Hall of Fame says he is arguably one of the most successful lyricists to write for the screen. He was entombed in Corridor of Immortality at Home of Peace Cemetery
8.
Harry Warren
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Harry Warren was an American composer and lyricist. Warren was the first major American songwriter to write primarily for film and he was nominated for the Academy Award for Best Song eleven times and won three Oscars for composing Lullaby of Broadway, Youll Never Know and On the Atchison, Topeka and the Santa Fe. He wrote the music for the first blockbuster film musical, 42nd Street, choreographed by Busby Berkeley, over a career spanning four decades, Warren wrote more than 800 songs. Warren was one of Americas most prolific composers, and his songs have been featured in over 300 films. Warren was born Salvatore Antonio Guaragna, one of children of Italian immigrants Antonio and Rachel De Luca Guaragna. His father changed the name to Warren when Harry was a child. Although his parents could not afford lessons, Warren had an early interest in music. He also sang in the choir and learned to play the drums. He began to play the drums professionally by age 14 and dropped out of school at 16 to play with his godfathers band in a traveling carnival. He also played the piano in cafés and silent-movie houses, in 1918 he joined the U. S. Navy, where he began writing songs. Warren wrote over 800 songs between 1918 and 1981, publishing over 500 of them and they were written mainly for 56 feature films or were used in other films that used Warrens newly written or existing songs. His songs eventually appeared in over 300 films and 112 of Warner Bros, looney Tunes and Merrie Melodies cartoons. 42 of his songs were on the top ten list of the radio program Your Hit Parade,21 of these reached #1 on Your Hit Parade. Youll Never Know appeared 24 times and his song I Only Have Eyes for You is listed in the list of the 25 most-performed songs of the 20th Century, as compiled by the American Society of Composers, Authors, and Publishers. Warren was the director of ASCAP from 1929 to 1932 and he collaborated on some of his most famous songs with lyricists Al Dubin, Billy Rose, Mack Gordon, Leo Robin, Ira Gershwin and Johnny Mercer. In 1942 the Gordon-Warren song Chattanooga Choo-Choo, as performed by the Glenn Miller Orchestra and it was No.1 for nine weeks on the Billboard pop singles chart in 1941–1942, selling 1.2 million copies. Warrens first hit song was Rose of the Rio Grande, with lyrics by Edgar Leslie and he wrote a succession of hit songs in the 1920s, including I Love My Baby and Seminola in 1925, Where Do You Work-a John. And In My Gondola in 1926 and Nagasaki in 1928 and he worked for 20th Century Fox starting in 1940, writing with Mack Gordon
9.
Musical film
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The musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing. The songs usually advance the plot or develop the characters, though in some cases they serve merely as breaks in the storyline. The musical film was a development of the stage musical after the emergence of sound film technology. Typically, the biggest difference between film and stage musicals is the use of background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater, performers often treat their song, in a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it. The 1930s through the early 1950s are considered to be the age of the musical film. Musical short films were made by Lee de Forest in 1923–24, beginning in 1926, thousands of Vitaphone shorts were made, many featuring bands, vocalists and dancers. The Jazz Singer, released in 1927 by Warner Brothers, was the first to include a track including non-diegetic music and diegetic music. This feature-length film was also a musical, featuring Al Jolson singing Dirty Hands, Dirty Face, Toot, Toot, Tootsie, Blue Skies and My Mammy. Historian Scott Eyman wrote, As the film ended and applause grew with the houselights and she saw terror in all their faces, she said, as if they knew that the game they had been playing for years was finally over. Still, only isolated sequences featured live sound, most of the film had only a musical score. In 1928, Warner Brothers followed this up with another Jolson part-talkie, The Singing Fool, theaters scrambled to install the new sound equipment and to hire Broadway composers to write musicals for the screen. The first all-talking feature, Lights of New York, included a sequence in a night club. The enthusiasm of audiences was so great that in less than an all the major studios were making sound pictures exclusively. The Broadway Melody had a plot about two sisters competing for a charming song-and-dance man. Advertised by MGM as the first All-Talking, All-Singing, All-Dancing feature film, it was a hit, there was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits. The Love Parade starred Maurice Chevalier and newcomer Jeanette MacDonald, written by Broadway veteran Guy Bolton, Warner Brothers produced the first screen operetta, The Desert Song in 1929. They spared no expense and photographed a large percentage of the film in Technicolor and this was followed by the first all-color, all-talking musical feature which was entitled On with the Show
10.
Sun Valley Serenade
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Sun Valley Serenade is a 1941 musical film starring Sonja Henie, John Payne, Glenn Miller, Milton Berle, and Lynn Bari.2 million. Ted Scott is a band pianist whose publicity manager decides that, for good press, the band goes to Ellis Island to meet the girl and soon discovers that the refugee isnt a 10-year-old child, but a young woman, Karen Benson. The surprise comes right before the band is to travel to Sun Valley, while on the ski slopes Ted soon falls for Karens inventive schemes to win the heart of her new sponsor, much to the chagrin of his girlfriend, Vivian Dawn, a soloist with the band. Vivian promptly quits the band out of jealousy, and Karen stages an elaborate ice show as a substitute, of particular note is the elaborate Chattanooga Choo Choo sequence. As the Miller band concludes their feature the camera left to reveal a railway station set. The band continues with the number and accompanies Dorothy Dandridge and The Nicholas Brothers in their song. Sun Valley Serenade is the first of the two movies featuring The Glenn Miller Orchestra. Besides Chattanooga Choo Choo, other Glenn Miller tunes in the film are Moonlight Serenade, It Happened in Sun Valley, I Know Why, and In the Mood. An instrumental version of At Last was recorded by Glenn Miller and his Orchestra as well as a version with vocals by John Payne and Pat Friday, but these recordings would remain unused and unissued. At Last would also appear in the 1942 follow-up movie Orchestra Wives performed by Glenn Miller and his Orchestra with vocals by Ray Eberle, Glenn Miller vocalist Pat Friday provided the pre-recorded vocal tracks that Lynn Bari lip synced in the film. Future Olympic gold medalist Gretchen Fraser was the skiing stand-in for Sonja Henie, Fraser was a member of the Olympic team in 1940 and 1948. Sun Valley Serenade was filmed in March 1941, by Darryl Zanuck, on spring snow in Sun Valley, the film became a Hollywood hit and served as a recruiting effort for the elite ski corps of the 10th Mountain Division stationed at Camp Hale in Colorado. Sun Valleys ski school director, Otto Lang, of St. Anton, the musical numbers were recorded in multi-directional mono, placing microphones around different parts of the orchestra. Those were all mixed down to mono at the time the film was released, the parts of those recordings were found and mixed into true stereo. They have also included in home video releases. The film is shown 24 hours a day on a television channel available to all rooms at the Sun Valley Lodge. Sun Valley Serenade was shown on Turner Classic Movies for the first time on Christmas Eve, the film was released in the VHS format in 1991 by 20th Century Fox. In 2007 Sun Valley Serenade was released on DVD by 20th Century Fox for Region 2 format and it remains unreleased on DVD for Region 1
11.
Rhythm and blues
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Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s. In the commercial rhythm and blues music typical of the 1950s through the 1970s, R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy. Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, the term rhythm and blues has undergone a number of shifts in meaning. In the early 1950s it was applied to blues records. This tangent of RnB is now known as British rhythm and blues, by the 1970s, the term rhythm and blues changed again and was used as a blanket term for soul and funk. In the 1980s, a style of R&B developed, becoming known as Contemporary R&B. It combines elements of rhythm and blues, soul, funk, pop, hip hop, popular R&B vocalists at the end of the 20th century included Michael Jackson, R. Kelly, Stevie Wonder, Whitney Houston, and Mariah Carey. Although Jerry Wexler of Billboard magazine is credited with coining the term rhythm and blues as a term in the United States in 1948. It replaced the term race music, which came from within the black community. The term rhythm and blues was used by Billboard in its chart listings from June 1949 until August 1969, before the Rhythm and Blues name was instated, various record companies had already begun replacing the term race music with sepia series. In 2010 LaMont Robinson founded the Rhythm & Blues Hall of Fame Museum, writer and producer Robert Palmer defined rhythm & blues as a catchall term referring to any music that was made by and for black Americans. He has used the term R&B as a synonym for jump blues, however, AllMusic separates it from jump blues because of its stronger, gospel-esque backbeat. Lawrence Cohn, author of Nothing but the Blues, writes that rhythm, according to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts. Well into the 21st century, the term R&B continues in use to music made by black musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, while singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, an associated with the modern popular music that rhythm. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords, there was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone
12.
Etta James
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Etta James was an American singer who performed in various genres, including blues, R&B, soul, rock and roll, jazz and gospel. Starting her career in 1954, she gained fame with such as The Wallflower, At Last, Tell Mama, Somethings Got a Hold on Me. She faced a number of problems, including heroin addiction, severe physical abuse. James powerful, earthy voice bridged the gap between rhythm and blues and rock and roll and she won six Grammy Awards and 17 Blues Music Awards. She was inducted into the Rock and Roll Hall of Fame in 1993, the Blues Hall of Fame in 2001, and the Grammy Hall of Fame in both 1999 and 2008. Rolling Stone magazine ranked James number 22 on its list of the 100 Greatest Singers of All Time, Hawkins was born on January 25,1938, in Los Angeles, California, to Dorothy Hawkins, who was 14 at the time. Her father has never been identified, James speculated that he was the pool player Rudolf Minnesota Fats Wanderone, whom she met briefly in 1987. Her mother was absent from their apartment in Watts, conducting relationships with various men. James referred to her mother as the Mystery Lady, under his tutelage, she suffered physical abuse during her formative years, with her instructor often punching her in the chest while she sang to force her to voice to come from her gut. As a consequence, she developed a strong voice for a child her age. She became a popular singing attraction, and Sarge tried unsuccessfully to pressure the church into compensating their family for her singing, Sarge, like the musical director for the choir, was also abusive. During drunken poker games at home, he would awaken Jamesetta in the morning hours. She was a bed-wetter and often soaked with urine on these occasions, the trauma of her foster father forcing her to sing under these humiliating circumstances led to difficulties for her to sing on demand throughout her career. In 1950, Mama Lu died, and Jamesettas biological mother took her to the Fillmore district of San Francisco, within a couple of years, she began listening to doo-wop and was inspired to form a girl group, the Creolettes. At the age of 14, she met the musician Johnny Otis, stories on how they met vary. In Otiss version, she came to his hotel after one of his performances in the city, another story was that Otis spotted the Creolettes performing at a Los Angeles nightclub and sought for them to record his answer song to Hank Ballards Work with Me, Annie. Otis took the group under his wing, helping them sign to Modern Records and he also gave the singer her stage name, transposing Jamesetta into Etta James. James recorded the version, for which she was given credit as co-author, in 1954, the original the name of the song was Roll with Me, Henry, but it was changed to avoid censorship due to the off-color title
13.
At Last!
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At Last. is the debut studio album by American blues and soul artist Etta James, which includes the title song At Last. The album was released on Argo Records in November 1960 and was produced by Phil, the original release contained four of James hits on the Rhythm and Blues Records Chart between 1960 and 1961. It was her first of five studio albums James would release on the Argo label, the albums title song was used as an intro song for the EA game FIFA16. At Last. was ranked at #119 on Rolling Stones 500 Greatest Albums of All Time in 2012, the original release of At Last. was issued as a 12-inch LP, consisting of ten tracks, with five songs on each side of the LP. Spawned four singles to the R&B and pop charts between 1960 and 1961, All I Could Do Was Cry, Trust in Me, At Last, and My Dearest Darling. It includes covers of pop and jazz standards, such as Stormy Weather and A Sunday Kind of Love, has been praised by many music critics. Stephen Cook of Allmusic gave the album five out of five stars, and, about James, wrote, one hears the singer at her peak in a swinging and varied program of blues, R&B, and jazz standards. Cook also praised the material that was recorded for the album and he also went on to say that Jamess voice, expertly handles jazz standards like Stormy Weather and A Sunday Kind of Love, as well as Willie Dixons blues classic I Just Want to Make Love to You. The album was reviewed by CD Universe. com, which gave it four. Like Allmusics response, CD Universe also praised At Last, stating that the albums songs highlight the singers facility with different approaches including torchy balladry, jazz crooning, growling blues, and R&B shouting. The website continued on to say that All I Could Do Is Cry sounded wrenching, encyclopedia of Popular Music, 4th ed. Grove Music Online
14.
Celine Dion
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Céline Marie Claudette Dion, CC OQ ChLD is a Canadian singer and businesswoman. Dion first gained recognition in the 1980s by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest where she represented Switzerland. Following a series of French albums during the 1980s, she signed on to Epic Records in the United States, in 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. During the 1990s, with the help of Angélil, she achieved fame after releasing several English albums along with additional French albums. Her albums, Falling into You and Lets Talk About Love, were certified diamond in the US while Deux became the best-selling French-language album of all time. However, in 1999 at the height of her success, Dion announced a hiatus from entertainment to start a family and spend time with her husband and she returned to the top of pop music in 2002 and signed to perform nightly in A New Day. A five-star theatrical show at the Colosseum at Caesars Palace, Paradise and it became the most successful residency show of all time, grossing US $385 million. Dions music has influenced by genres ranging from rock and R&B to gospel. Her recordings are mainly in French and English, although she sings in Spanish, Italian, German, Latin, Japanese. While her releases have received mixed critical reception, she is regarded as one of pop musics most influential voices. Dion has won five Grammy Awards, including Album of the Year and she is the second best-selling female artist in the US during the Nielsen SoundScan era. In 2003, Dion was honoured by the International Federation of the Phonographic Industry for selling over 50 million albums in Europe, Dion remains the best-selling Canadian artist and one of the best-selling artists of all time with record sales of over 200 million copies worldwide. Dion was born in Charlemagne, Quebec, Canada, the youngest of 14 children of Thérèse, a homemaker, and Adhémar Dion, Dion was raised a Roman Catholic in a poverty-stricken, but, by her own account, happy home in Charlemagne. Music had always been a part of the Dion family, indeed, Dion herself was named after the song Céline. Thereafter, she continued to perform with her siblings in her parentss small piano bar called Le Vieux Baril, from an early age, Dion had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, I missed my family and my home, I had one dream, I wanted to be a singer. At age 12, Dion collaborated with her mother and her brother Jacques to write and compose her first song, Ce nétait quun rêve, whose title translates as It Was Only a Dream or Nothing But A Dream. Her brother, Michel Dion, sent the recording to music manager René Angélil, Angélil was moved to tears by Dions voice and decided to make her a star
15.
John Payne (actor)
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Payne was born in Roanoke, Virginia. His mother, Ida Hope, a singer, graduated from the Virginia Seminary in Roanoke and married George Washington Payne and they lived at Fort Lewis, an antebellum mansion that became a state historic property but was destroyed by fire in the late 1940s. Payne attended prep school at Mercersburg Academy in Mercersburg, Pennsylvania and he then transferred to Columbia University in New York City in the fall of 1930. He studied drama at Columbia and voice at Juilliard School, to support himself, he took on a variety of odd jobs, including wrestling as Alexei Petroff, the Savage of the Steppes and boxing as Tiger Jack Payne. In 1934, a talent scout for the Shubert theaters spotted Payne, Payne toured with several Shubert Brothers shows, and frequently sang on New York-based radio programs. In 1936, he landed a contract at Samuel Goldwyns studio and his first role in Dodsworth presented him as an affable, handsome character actor. Following this he was the man in the light musical Garden of the Moon. In these films, he was typically cast as a player in love with the likes of Alice Faye, Betty Grable. A highlight during this period was co-starring with Gene Tierney and Tyrone Power in The Razors Edge, in To the Shores of Tripoli, as the playboy son of a United States Marine Corps World War I veteran, he crosses his Marine Drill Sergeant Randolph Scott. Paynes romantic interest in the film is a Navy nurse lieutenant and this was one of the top films of 1942. During World War II Payne served as a instructor in the United States Army Air Corps. Paynes most familiar role may be his film for Fox. In 1955, he paid a $1, 000-a-month option for nine months on the Ian Fleming James Bond novel Moonraker, dan Blocker, James Coburn, and Don Grady made their first substantive acting forays with Payne on The Restless Gun. On October 31,1957, as The Restless Gun began airing, Payne guest-starred on The Ford Show, in March 1961, Payne suffered extensive, life-threatening injuries when struck by a car in New York City. In his later roles, facial scars from the accident can be detected in close-ups, one of Paynes first public appearances during this period was as a guest panelist on the popular CBS Sunday night game show Whats My Line. In the December 3,1961 episode, regular panelist Dorothy Kilgallen introduced Payne by saying Hes been in the hospital after a bad accident. So its good to see him fit as a fiddle and all in one piece, and regular panelist Bennett Cerf remarked Good to see you here John. Glad to see you beat that car on Madison Avenue that bumped into you, Payne directed one of his last films, They Ran for Their Lives, and again teamed up with Alice Faye in a 1974 revival of the musical Good News
16.
Lynn Bari
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Lynn Bari, born Margaret Schuyler Fisher, was a film actress who specialized in playing sultry, statuesque man-killers in roughly 150 20th Century Fox films from the early 1930s through the 1940s. Bari was born in Roanoke, Virginia, and raised in Lynchburg, Virginia, moving to Los Angeles, California, the contracts included a studio option for renewal for as long as seven years. In most of her films, Bari had uncredited parts usually playing receptionists or chorus girls. She struggled to find starring roles in films, but accepted any work she could get, rare leading roles included China Girl, Hello, Frisco, Hello, and The Spiritualist. In B movies, Lynn was usually cast as a villainess, notably Shock, an exception was The Bridge of San Luis Rey. During WWII, according to a survey taken of GIs, Bari was the second-most popular pinup girl after the much better-known Betty Grable and she portrayed the mother of a suicidal teenager in a 1951 drama, On the Loose, plus a number of supporting parts. Baris last film appearance was as the mother of rebellious teenager Patty McCormack in The Young Runaways and her final TV appearances were in episodes of The Girl From U. N. C. L. E. and The FBI. From July–September 1952, Bari starred in her own comedy, Boss Lady. She portrayed Gwen F. Allen, the top executive of a construction firm. Not the least of her troubles in the role was being able to hire a manager who did not fall in love with her. Commenting on her other roles, Bari once said, I seem to be a woman always with a gun in her purse. I go from one set to the other shooting people and stealing husbands, Bari was the only daughter of John Maynard Fisher, a native of Tennessee, and his wife, Marjorie Halpen of New York. She had a brother, John. Fisher died in 1920, and his widow moved the family to Lynchburg, here Baris mother met and married the Reverend Robert Bizer, a Religious Science minister. Assigned a position with his church in Boston, Bizer moved the family to Massachusetts, Bari later recalled other children at school in Boston made life miserable for her brother and her, making constant fun of their obvious Southern accents. She determined to eliminate hers, becoming involved with amateur theatrics, Bari was enthusiastic when at the age of 13 she was told her stepfather had been reassigned to Los Angeles, where he later became the head of the Institute of Religious Science. Her stage name, selected as Lynn Barrie while at school at 14, is a composite of theater actress Lynn Fontanne. After reading a story about the Italian city of Bari, she decided to change the spelling, a staunch Republican, Bari actively supported conservative causes, campaigned for Republican presidential candidates from Hoover to Reagan, and was a regular attendee of GOP national conventions
17.
Darryl F. Zanuck
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Darryl Francis Zanuck was an American film producer and studio executive, he earlier contributed stories for films starting in the silent era. He played a part in the Hollywood studio system as one of its longest survivors. He earned three Academy Awards as producer for Best Picture during his tenure, but was responsible for many more, Zanuck was born in Wahoo, Nebraska, the son of Louise and Frank Zanuck, who owned and operated a hotel in Wahoo. Zanuck was of part Swiss descent and was raised a Protestant, at age six, Zanuck and his mother moved to Los Angeles, where the better climate could improve her poor health. At age eight, he found his first movie job as an extra, in 1918, despite being sixteen, he deceived a recruiter, joined the United States Army, and served in France with the Nebraska National Guard. Upon returning to the US, he worked in many jobs while seeking work as a writer. He found work producing movie plots, and sold his first story in 1922 to William Russell and he moved into management in 1929, and became head of production in 1931. In 1933, Zanuck left Warners over a dispute with studio head Jack L. Warner. A few days later, he partnered with Joseph Schenck to form 20th Century Pictures, Inc. with financial help from Josephs brother Nicholas Schenck, mayer, President and Studio head of Loews, Inc and its subsidiary Metro-Goldwyn-Mayer, along with William Goetz and Raymond Griffith. 20th Century released its material through United Artists, after a dispute with United Artists over stock ownership, Schenck and Zanuck negotiated and bought out the bankrupt Fox studios in 1935 to form Twentieth Century-Fox Film Corporation. Zanuck was Vice President of Production of this new studio and took an approach, closely involving himself in scripts. When the U. S. who was chauffeured by limousine to Long Island each morning from a luxury Manhattan hotel. Appalled by such privileged cosseting, Zanuck stormed down to Washington, D. C. and into the War Department, demanding a riskier assignment from Chief of Staff and he even persuaded Lord Mountbatten to allow him along on a secret coastal raid across the Channel to occupied France. The daring nighttime attack on a German radar site was a success, navy even before the U. S. entered the war, and he was horrified to discover himself drafted into Zanucks Africa unit. Cant I ever get away from you, I bet if I die and go to heaven, youll be waiting for me under a sign reading Produced by Darryl F. Zanuck. Unlike Col. Warner, most colonels from the studio system—Col, Frank Capra, Col. Anatole Litvak, Col. Hal Roach—were actually doing their cinematic jobs, often, like Zanuck, under enemy fire. Nonetheless, when Col. Zanuck was named in this investigation in 1944, whatever the reason, despite having published his own first-person account of his wartime adventures he resigned. Zanuck returned to Twentieth Century-Fox in 1944 and he avoided the studio and instead read books at home, surrounded by his growing family, and caught up on all the films he had missed while overseas in his private screening room
18.
(I've Got a Gal In) Kalamazoo
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Kalamazoo is a #1 popular song recorded by Glenn Miller and His Orchestra in 1942. It was written by Mack Gordon and Harry Warren and published in 1942, the song popularized the city of Kalamazoo, Michigan. The song was nominated for Best Music, Original Song at the Academy Awards, Harry Warren, the Glenn Miller record was the years best-selling recording in the United States, according to Billboard magazine. It spent nineteen weeks on the Billboard charts, including eight weeks in first place, the song was nominated for an Academy Award in the category of Best Music, Original Song in 1943. The Four King Sisters recorded the song in 1942 on RCA Bluebird, louis Armstrong recorded the song in 1943
19.
Great American Songbook
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The Great American Songbook, also known as American Standards, is the canon of the most important and influential American popular songs and jazz standards from the early 20th century. They have been recorded and performed by a number and wide range of singers, instrumental bands. The Songbook comprises standards by George Gershwin, Cole Porter, and Irving Berlin, and also Jerome Kern, Harold Arlen, Johnny Mercer, Richard Rodgers, there is no consensus on which songs are in the Great American Songbook. Several music publishing companies, including Hal Leonard, J. W. Pepper & Son, Alfred Music lists the Songbook as its own genre. Music critics have attempted to develop a canon, a composer, Wilder emphasized analysis of composers and their creative efforts in this work. Wilder devotes whole chapters to only six composers, Jerome Kern, Irving Berlin, George Gershwin, Richard Rodgers, Cole Porter, vincent Youmans and Arthur Schwartz share a chapter, Burton Lane, Hugh Martin and Vernon Duke are covered together in another. Whiting, Ray Noble, John Green, Rube Bloom and Jimmy Van Heusen, Wilder concludes with a catch-all 67-page chapter entitled Outstanding Individual Songs,1920 to 1950, which includes additional individual songs which he considers memorable. From some perspectives, the Songbook era ended with the advent of rock and roll, Radio personality and Songbook devotee Jonathan Schwartz has described this genre as Americas classical music. What makes these songs classic is their lasting value, the following writers and songs are often included in the Great American Songbook, Harold Arlen Irving Berlin Nacio Herb Brown with lyricist Arthur Freed Hoagy Carmichael Cy Coleman J. Many of the songs in the Great American Songbook are in thirty-two-bar form, many were composed for musicals, and some originally included an introductory sectional verse. The sectional verse is an introduction that typically has a free musical structure, speech-like rhythms. The song itself is usually a 32-bar AABA or ABAC form, and the lyrics refer to more universal and timeless situations and themes – typically, for instance. This universality made it easier for songs to be added to or subtracted from a show, a few of the songs which were written with an introductory sectional verse are nearly always performed in full with the introduction. However, the verse, if it exists, is often dropped in performances of Great American Songbook songs outside their original stage or movie context. Whether or not the verse is sung often depends on what the song is. For example, Frank Sinatra never recorded Fly Me to the Moon with the sectional verse. Since the 1930s, many singers have recorded or performed large parts of the Great American Songbook, ella Fitzgeralds popular and influential Songbook series on Verve in the 1950s and 1960s collated 252 songs from the Songbook. These eight collections paid tribute to Cole Porter, Richard Rodgers and Lorenz Hart, Duke Ellington, Irving Berlin, George Gershwin and Ira Gershwin, Harold Arlen, Jerome Kern, since the late 20th century, there has been a revival of the Songbook by contemporary singers
20.
Ray Eberle
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Raymond Ray Eberle was a vocalist during the Big Band Era. Eberle sang with the Glenn Miller Orchestra, Eberle was born in Mechanicville, Saratoga County, New York. His father, John A. Eberle, was a policeman, sign-painter. His elder brother was Big Band singer, Bob Eberly, who sang with the Jimmy Dorsey Orchestra, Ray started singing in his teens, with no formal training. In 1938, Glenn Miller, who was looking for a male vocalist for his big band, Bob said yes, and Ray was hired on the spot. Eberle recalled walking by a table when his similar looking brother was performing, music critics and Millers musicians were reportedly unhappy with Eberles vocal style but Miller stuck with him. He appeared in the Twentieth Century Fox movies, Sun Valley Serenade and he made several Universal films, including Mister Big, making a cameo appearance as himself. He led his own orchestra called, The Ray Eberle Orchestra as well as the Serenade In Blue Orchestra from 1943, from 1940-43 he did well on Billboard s College Poll for male vocalist. He also appeared on television variety shows in the 1950s and 1960s. Eberle was stuck in one day during a Chicago engagement. Miller fired him on the spot, and replaced him in June 1942 with Skip Nelson, after his departure from Miller, Eberle briefly joined Gene Krupas band before launching a solo career. He later joined former Miller bandmate Tex Benekes orchestra in 1970 for a national tour, Ray and his wife, Janet, had three children, Jan, Laurie and Raye Ellen Eberle. Janets daughter Nancy Atchison became Nancy Eberle when she was adopted by Ray, Ray had two sons from his second marriage to Joanne Eberle, Ray Eberle Jr. and John Eberle. He also has numerous grand children, Ray Eberle died of a heart attack in Douglasville, Georgia on August 25,1979, aged 60. Biography Ray Eberle at the Internet Movie Database
21.
Billy May
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Edward William Billy May, Jr was an American composer, arranger and trumpeter. He composed film and television music for The Green Hornet, The Mod Squad, Batman and he collaborated on films such as Pennies from Heaven, and orchestrated Cocoon, and Cocoon, The Return, among others. He also collaborated with satirist Stan Freberg on several classic 1950s and 1960s satirical music albums, with his own band, May had a hit single, Charmaine, in 1952, and he released an album, Sorta-May. May was born in Pittsburgh, Pennsylvania and he started out playing the tuba in the high school band. I sat in the rear of the stand, I didnt realize it at the time, but I was intrigued with becoming an arranger and an orchestrator. At the age of seventeen May began playing with Gene Olsens Polish-American Orchestra, after playing for a few local bands, May heard Charlie Barnets band on the radio in his hometown of Pittsburgh. May approached the bandleader and asked if he could write arrangements for the band and this happened in the summer of 1938. From 1938 to 1940, May wrote arrangements and played trumpet for Charlie Barnets big band and his arrangement of the Ray Noble composition Cherokee became a major hit of the swing music era. Mays caustic lyrics to the song called it swing and sweat with Charlie Barnet, bandleader Glenn Miller hired May away from Charlie Barnet in 1940. May points out that he was not responsible for any of the bands signature hits, may worked as an arranger for the bands of Glenn Miller and Les Brown before being hired as staff arranger first for the NBC radio network, then for Capitol Records. At Capitol, May wrote arrangements for many top artists and these included Frank Sinatra on the albums Come Fly with Me, Come Dance with Me. and Come Swing with Me. Nat King Cole on the albums Just One of Those Things, with Sinatra, Bobby Darin on the album Oh. Look at Me Now, Nancy Wilson on the albums Like In Love, Something Wonderful, Tender Loving Care, additionally, Mays orchestra was featured on many Capitol Records childrens projects, including cowboy star, Hopalong Cassidy. The result was a recreation of Welks sound as Freberg. Freberg has recounted that Welk was less than amused by the results, may also composed and conducted the music for Frebergs short-lived comedy radio series on CBS, which ran for fifteen episodes in 1957. His send-up of trashy horror-film music is notable, in 1959, May won the Grammy Award for Best Performance by an Orchestra. Much of Mays work for Capitol has been reissued on the Ultra-Lounge series of CDs, the Crosby-Clooney collaboration was a sequel to their earlier album on RCA Records, Fancy Meeting You Here, also arranged by May. & Edward K. and Trilogy 1, The Past, as well as the chart for one of Sinatras last ever solo recordings, in addition, May was the natural choice to arrange Sinatras knockabout duet with Sammy Davis Jr
22.
Tex Beneke
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Gordon Lee Tex Beneke was an American saxophonist, singer, and bandleader. His career is a history of associations with bandleader Glenn Miller and former musicians and his band is also associated with the careers of Eydie Gorme, Henry Mancini and Ronnie Deauville. Beneke also solos on the recording the Glenn Miller Orchestra made of their popular song In The Mood and sings on another popular Glenn Miller recording, jazz critic Will Friedwald considers Beneke to be one of the major blues singers who sang with the big bands of the early 1940s. Beneke was born in Fort Worth, Texas and he started playing saxophone when he was nine, going from soprano to alto to tenor saxophones and staying with the latter. His first professional work was with bandleader Ben Young in 1935, Beneke said, It seems that Gene Krupa had left the Goodman band and was forming his own first band. He was flying all over the country looking for new talent, Gene wound up taking two or three of our boys with him back to New York. Wanted to take but his sax section was already filled, Krupa knew that Glenn Miller was forming a band and recommended Beneke to Miller. On the August 1,1939, recording made of the Joe Garland composition In The Mood, Millers 1941 recording of A String of Pearls also has Beneke and Klink trading two-measure tenor solo phrases. Beneke appears with Miller and his band in the films Sun Valley Serenade and Orchestra Wives, Tex Beneke is listed in the personnel of the 1941 Metronome All-Star Band led by Benny Goodman. Chattanooga Choo Choo, catalogue number Bluebird 11230-B, was recorded by the Miller band at the Victor recording studios in Hollywood, hoping to repeat the success of Chattanooga the following year, songwriters Warren and Gordon composed Ive Got A Gal in Kalamazoo for the Orchestra Wives score. That arrangement also featured Beneke, the Modernaires and band vocalist Marion Hutton in a not-too-dissimilar fashion, not surprisingly, Kalamazoo became another hit record for Miller, Beneke and the band though not to the extent that Chattanooga had been the year before. When Miller broke up the band in August 1942 to join the Army Air Force, Beneke played very briefly with Horace Heidt before joining the Navy himself, leading a Navy band in Oklahoma. While employed with Miller, Beneke was offered his own band, as Miller had done with colleagues and employees like Hal McIntyre, Claude Thornhill, Beneke wanted to come back to Miller after the war and learn more about leading a band before being given his own band. Beneke led two bands in the navy and kept in touch with Glenn Miller while they were serving in the military. By 1945, Beneke felt ready to lead his own orchestra, Glenn Miller went missing on December 15,1944 while flying to France from England. After World War Two, the United States Army Air Force decommissioned the Glenn Miller-led Army Air Force band, the Miller estate authorized an official Glenn Miller ghost band in 1946. This band was led by Tex Beneke who as time went on had more prominence in the bands identity and it had a make up similar to Glenn Millers Army Air Force Band, having a large string section. The orchestras official public début was at the Capitol Theatre on Broadway where it opened for an engagement on January 24,1946
23.
Chummy MacGregor
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John Chalmers MacGregor, better known as Chummy MacGregor, a pianist and composer, was Glenn Miller’s pianist from 1936-1942. He composed the songs Moon Dreams, It Must Be Jelly, I Sustain the Wings, Doin the Jive, Sold American and he graduated from the University of Michigan in 1925 and was a member of Delta Tau Delta. Before joining with Glenn Miller, MacGregor played with Irving Aaronson and he played in Glenn Miller’s first unsuccessful band in 1936-37. He remained when Glenn Miller reformed the orchestra that would become the most popular. The band would achieve 23 no.1 hits from 1939 to 1943 and he was played by Harry Morgan in The Glenn Miller Story, starring James Stewart and June Allyson, on which he was a consultant and technical advisor. He appeared uncredited in Sun Valley Serenade as part of the Glenn Miller Orchestra and he played the piano parts and solos for Cesar Romero in Orchestra Wives. Chummy MacGregor also composed a series of songs with Charles Ives, The Cage, Berceuse, Evidence, Disclosure, Down East, Allegro, The Camp Meeting, and The Circus Band. His composition Moon Dreams was recorded by Glenn Miller and the Army Air Force Band and was released as a V-Disc, martha Tilton recorded Moon Dreams in 1942 for Capitol Records, which was co-founded by Johnny Mercer, the co-writer of the song. Herbie Mann, Hal McIntyre, Meredith DAmbrosio, Gil Goldstein, Flavio Ambrosetti, Franz Koglmann and his composition Moon Dreams was also featured in the 1988 motion picture 36 Fillette. Moon Dreams was also featured on the soundtrack collection Ken Burns Jazz, The Story of Americas Music, in a performance by Miles Davis, arranged by Gil Evans. Miles Davis first performed the song in 1948 in concert in New York, in 2008, his composition Moon Dreams was featured in the Fox series The Simpsons in the episode Mypods and Boomsticks in a performance by Miles Davis. He played piano on three landmark Glenn Miller recordings that were inducted into the Grammy Hall of Fame, Moonlight Serenade, In the Mood, Moonlight Serenade, A Bio-discography of the Glenn Miller Civilian Band. New Rochelle, NY, Arlington House,1972, Simon, George T. Simon Says, The Sights and Sounds of the Swing Era, 1935-1955. New Rochelle, NY, Arlington House,1971
24.
Bobby Hackett
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Robert Leo Bobby Hackett was an American jazz musician who played trumpet, cornet and guitar with the bands of Glenn Miller and Benny Goodman in the late 1930s and early 1940s. Hackett is probably best known for being the featured soloist on some of the Jackie Gleason mood music albums during the 1950s, Hackett was born in Providence, Rhode Island, to a family of Irish immigrants. He made his name as a follower of the cornet player Bix Beiderbecke. In the late 1930s Hackett played lead trumpet in the Vic Schoen Orchestra which backed the Andrews Sisters, Hackett can be heard on the soundtrack to the 1940 Fred Astaire movie Second Chorus. In 1939 the talent agency MCA asked Hackett to form a big band with its backing, unfortunately the band failed and Hackett was in substantial debt to MCA after it folded. Hackett joined the bands of Horace Heidt and then Glenn Miller to pay down this debt, to make matters worse, his lip was in bad shape after dental surgery, making it difficult for him to play the trumpet or cornet. Glenn Miller came to Hacketts rescue, offering him a job as a guitarist with the Miller Band, when I joined the band and I was making good money at last, accused me of selling out. Hell I wasnt selling out, I was selling in and its funny, isnt it, how you go right into the wastebasket with some critics the minute you become successful. Despite his lip problems, Hackett could still play occasional short solos, a dream come true for Hackett was his inclusion in Louis Armstrongs 1947 Town Hall Jazz Concert. In 1954, Hackett appeared as a regular on the short-lived ABC variety show The Martha Wright Show, however, what made Hackett something of a household name was his being hired by Jackie Gleason as a cornet soloist for some of Gleasons earliest mood music albums. Starting in 1952, Hackett appeared on Gleasons first Capitol Records album, the record – as well as all of Gleasons next 10 albums - went gold. Hackett went on to appear on six more Gleason LPs and this association led directly to Hackett signing with Capitol for a series of his own albums. In 1965, he toured with singer Tony Bennett, in 1966 and 1967 Hackett accompanied Bennett on two European tours. In the early 1970s, Hackett performed separately with Dizzy Gillespie, in 2012, Hackett was selected to be inducted into the Rhode Island Music Hall of Fame. Sometime in the 1930s, Bobby Hackett married Edna Hackett and he had two children with her, Barbara Hackett and Ernie Hackett. His son became a musician as well, playing the drums, Hackett died in 1976 of a heart attack, at the age of 61. The couple lived between Greenwich Village, Manhattan and Los Angeles, California while spending their summers in Chatham, the couple is survived by two children, two grandchildren, and four great grandchildren. Bobby Hackett was a Freemason and was active with St. Cecile Lodge #568 which was a specifically for musicians
25.
Jerry Gray (arranger)
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Jerry Gray was an American violinist, arranger, composer, and leader of swing dance orchestras bearing his name. He is widely known for his work with music during the Swing era. His name is linked to two of the most famous bandleaders of the time, Artie Shaw and Glenn Miller. Gray, along with Bill Finegan, wrote many of Glenn Millers arrangements during the late 1930s, in the latter part of Grays career, his orchestra served as the house band at the Venetian Room of the Fairmont Hotel, Dallas. Jerry Gray was born Generoso Graziano in Boston, Massachusetts and his father Albert Graziano was a music teacher who began training his son on the violin at age seven. As a teenager he studied with Emanuel Ondříček and was a soloist with the Boston Junior Symphony, by age eighteen he had already formed his own jazz band and was performing in Boston-area clubs. In 1936 Gray joined Artie Shaw, who was calling himself Art Shaw and he studied musical arrangement under Shaw and became a staff arranger a year later. During the next two years he penned some of the bands most popular arrangements, including Carioca, Softly, As in a Morning Sunrise, Any Old Time, in November 1939, Shaw suddenly broke up his band and moved to Mexico. The next day, Glenn Miller called Gray and offered him a job arranging for his band and it was initially a difficult move because Shaw had generally allowed his arrangers great musical latitude, while Millers commercial orientation often led him to second-guess his staff. Gray gradually found himself more in line with Millers less–mercurial personality and was allowed more of the freedom that he appreciated, as Gray later told author George T. Simon, To me, Glenns band didnt swing like Arties. But after I made up my mind to things as they were. He was a businessman who appreciated music, I may have been happier musically with Artie, but I was happier personally with Glenn. Grays time with the Glenn Miller Orchestra produced many of the most recognizable and memorable recordings of the era, here We Go Again, The Spirit is Willing and his most famous song, A String of Pearls. Gray was again without a job when Miller broke up his band in September 1942 to enter the Army Air Forces, the now-Captain Miller used his connections to have Gray posted in his unit, and in early 1943, Gray rejoined his old boss. Entrenched military bureaucracy halted Millers initial plans to establish a group of bands with Gray as coordinator of the arranging staffs. Instead, Gray became chief arranger for the Millers Band of the Training Command, Grays training as both a violinist and swing arranger served him well in the massive AAF orchestra composed of an enlarged dance band and a 21–member string section. He also co-wrote the famous version of St. Louis Blues along with Perry Burgett. Gray was also the full orchestras assistant conductor, while Ray McKinley and George Ockner served as seconds-in-command for the band and string section
26.
V-Disc
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The records were produced for the use of United States military personnel overseas. Many popular singers, big bands and orchestras of the era recorded special V-Disc records and these 12-inch, vinyl 78 rpm gramophone recordings were created for the Army between October 1943 and May 1949. Navy discs were released between July 1944 and September 1945, twelve-inch discs were used because, when 136 grooves per inch were cut, they could hold up to six and a half minutes of music. Not all releases were pressed on vinyl, many were of the less durable shellac compound used for standard 78 RPM records of the day. Army V-discs were issued in series A-Z, AA-ZZ and AAA-FFF, navy V-discs were issued in series A-N. Bronson suggested the troops might appreciate a series of records featuring military band music, inspirational records that could motivate soldiers, meanwhile, the American Federation of Musicians, under the leadership of James Caesar Petrillo, were involved in a major recording ban against the four major record companies. This continued until the intervention of recording pioneer George Robert Vincent, on October 27,1943, Vincent convinced Petrillo to allow his union musicians to record sides for the military, as long as the records were not offered for purchase in the United States. From that moment on, artists who wanted to record now had an outlet for their productivity – as well as a guaranteed, receptive, enthusiastic audience of soldiers, sailors. The V-Discs were an instant hit overseas, soldiers who were tired of hearing the same old recordings were treated to new and special releases from the top musical performers of the day. The selection was very varied – it included big band hits, some swing music, classical performances from eminent symphony orchestras, jazz, radio networks sent airchecks and live feeds to V-Disc headquarters in New York. Some movie studios sent rehearsal feeds from the latest Hollywood motion pictures to V-Disc, artists gathered at several V-Disc recording sessions in theaters around New York and Los Angeles, including CBS Playhouse No. 3, NBC Studio 8H, and CBS Playhouse No.4, V-Discs were pressed by major civilian record companies like RCA Victor and Columbia Records. Many V-Discs contained spoken-word introductions by bandleaders and artists, wishing good luck and prayers for the soldiers overseas, V-Discs also featured one-of-a-kind performances, as artists who were not shackled by restrictive record company contracts could now perform special versions of the 1940s most popular hits. V-discs were recorded targeted to specific AFRS programs, the Jubilee series, hosted by comedian Ernie Bubbles Whitman, was targeted to black servicemen. The banter between Whitman and guests sometimes ventured into risque racial humor, including the use of the pig latin term ofay to refer to whites, v-disc recordings provide important archives of the Billy Eckstine Orchestra and the International Sweethearts of Rhythm. The V stands for Victory although Lieutenant Vincent was quoted later to say that the V stood for Vincent, after the V-Disc program ended in 1949, the Armed Services set out to honor the original AFM request that the records not be used for commercial purposes. Original masters and stampers were destroyed, leftover V-Discs at bases and on ships were discarded. On some occasions, the FBI and the Provost Marshals Office confiscated and destroyed V-Discs that servicemen had smuggled home, an employee at a Los Angeles record company even served a prison sentence for the illegal possession of over 2500 V-Discs
27.
United States Department of War
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The Secretary of War, a civilian with such responsibilities as finance and purchases and a minor role in directing military affairs, headed the War Department throughout its existence. Retired senior General Henry Knox, then in civilian life, served as the first United States Secretary of War, forming and organizing the department and the army fell to Secretary Knox. On November 8,1800 the War Department building with its records, foundation of the new military academy at West Point along the Hudson River upstream from New York City in 1802 was important to the future growth of the American army. The multiple failures and fiascos of the War of 1812 convinced Washington that thorough reform of the War Department was necessary, winfield Scott became the senior general until the start of the American Civil War in 1861. The bureau chiefs acted as advisers to the Secretary of War while commanding their own troops, the bureaus frequently conflicted among themselves, but in disputes with the commanding general, the Secretary of War generally supported the bureaus. Congress regulated the affairs of the bureaus in detail, and their chiefs looked to that body for support, during the American Civil War, the War Department responsibilities expanded. It handled the recruiting, training, supply, medical care, transportation, a separate command structure took charge of military operations. In the late stages of the war, the Department took charge of refugees and freedmen in the American South through the Bureau of Refugees, Freedmen, during Reconstruction, this bureau played a major role in supporting the new Republican governments in the southern states. When military Reconstruction ended in 1877, the U. S. Army removed the last troops from military occupation of the American South, and the last Republican state governments in the region ended. The Army comprised hundreds of small detachments in forts around the West, dealing with Indians, the United States Army, with 39,000 men in 1890 was the smallest and least powerful army of any major power in the late 19th century. By contrast, France had an army of 542,000, temporary volunteers and state militia units mostly fought the Spanish–American War of 1898. This conflict demonstrated the need for effective control over the department. Elihu Root enlarged the United States Military Academy at West Point, New York and established the United States Army War College and he changed the procedures for promotions and organized schools for the special branches of the service. He also devised the principle of rotating officers from staff to line, indeed, Secretary Taft exercised little power, President Theodore Roosevelt made the major decisions. In 1911, Secretary Henry L. Stimson and Major General Leonard Wood, his chief of staff, the general staff assisted them in their efforts to rationalize the organization of the army along modern lines and in supervising the bureaus. Assisted by industrial advisers, they reorganized the system of the army. General March reorganized the general staff along similar lines and gave it authority over departmental operations. After the war, the Congress again granted the bureaus their former independence, in the 1920s, General John J. Pershing realigned the general staff on the pattern of his American Expeditionary Force field headquarters, which he commanded
28.
Ray Anthony
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Ray Anthony is an American bandleader, trumpeter, songwriter and actor. He is the last surviving member of the Glenn Miller Orchestra, Anthony was born in Bentleyville, Pennsylvania but moved with his family to Cleveland, Ohio, where he studied the trumpet. He played in Glenn Millers band from 1940–1942 and appeared in the Glenn Miller movie Sun Valley Serenade before joining the U. S. Navy during World War Two, after the war he formed his own group. The Ray Anthony Orchestra became very popular in the early 1950s, with The Bunny Hop and he had a #2 chart hit with a remake of the Glenn Miller tune, At Last, in 1952, the highest charting pop version of the song in the U. S. In 1953, Anthony and his orchestra were featured when Helen OConnell, from 1953-1954 Anthony was the musical director of the television series TVs Top Tunes, and he also appeared as himself in the 1955 film Daddy Long Legs. In 1955 Anthony married his wife, the sex symbol actress Mamie Van Doren. Their son Perry Ray was born March 18,1956 and he then began expanding his own acting career. In 1956-1957 he starred in a television variety show, The Ray Anthony Show. Anthony also appeared in films during the late 1950s, including The Five Pennies. In the 1959-1960 television season, he guest-starred in the episode Operation Ramrod of David Hedisons espionage series Five Fingers on NBC, in 1957, Anthony and his orchestra recorded the music score for the film This Could Be The Night, with vocals performed by Julie Wilson. Anthony also had a role in the film, playing himself, after van Doren filed for divorce in 1958, citing cruelty, they finally divorced in 1960, and Anthonys brief film career ended at about the same time. However, he continued his career and had another hit record with the theme from Peter Gunn. Among his pianists was Allen Puddler Harris, a native of Franklin Parish, Louisiana, who had been a member of the original Ricky Nelson band, and Kellie Greene, who also played the vibraphone. Ray Anthony and his Bookends was active between the 1960s and 1980s, its most notable single was Christmas Kisses/Let Me Walk With You, Anthony was considered one of the most modern of the big band leaders. In the early 1980s, Anthony formed Big Band 80s, other members including Buddy Rich, Harry James, Les Brown, Anthony, who has been honored with a star on the Hollywood Walk of Fame, continues to be active as a bandleader and musician. Anthony is a friend of Hugh Hefner and has appeared in numerous episodes of The Girls Next Door
29.
I Just Want to Make Love to You
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I Just Want to Make Love to You is a 1954 blues song written by Willie Dixon, first recorded by Muddy Waters, and released as Just Make Love to Me. The song reached number four on Billboard magazines R&B Best Sellers chart, backing Waters on vocals are Little Walter on harmonica, Jimmy Rogers on guitar, Otis Spann on piano, Willie Dixon on bass, and Fred Below on drums. Waters recorded the song again for the album Electric Mud, in 1961, Etta James recorded the song for her début album At Last. Her rendition also served as the B-side to her hit of that name, in 1996, it was released as a single in the UK after being featured in a Diet Coke advertising campaign. James version uses somewhat different lyrics than Muddy Waters original, for example, I dont want you to make my bed becomes I just want to make your bed. The CD single also included James Tell Mama and Stormy Weather, in 1996, it reached number five on the UK Singles chart, as well as number 27 on the Dutch singles chart. In 1998, the single reached the records charts in Belgium, number 31 on the Belgian Singles Chart. A live version was released on Foghat Live and released as another 45 rpm single with Fool for the City as the B-side and this single version reached number 33 on the Billboard Hot 100. Foghats version of the song was used in the films Dazed and Confused, a version with modified lyrics was also used as introductory music to Wolfman Jacks radio show in the 1970s. Bo Diddley, Muddy Waters, and Little Walter recorded the song for Super Blues in 1967, lyrics of this song at MetroLyrics
30.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
31.
Spoonful
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Spoonful is a blues song written by Willie Dixon and first recorded in 1960 by Howlin Wolf. Called a stark and haunting work, it is one of Dixons best known, Etta James had a pop and R&B record chart hit with Spoonful in 1961, and it was popularized in the late 1960s by the British rock group Cream. Dixons Spoonful is loosely based on A Spoonful Blues, a song recorded in 1929 by Charley Patton, which is related to All I Want Is a Spoonful by Papa Charlie Jackson and Cocaine Blues by Luke Jordan. Spoonful has a one-chord, modal blues structure found in other songs Willie Dixon wrote for Howlin Wolf, such as Wang Dang Doodle and Back Door Man and it uses eight-bar vocal sections with twelve-bar choruses and is performed at a medium blues tempo in the key of E. Music critic Bill Janovitz describes it as brutal, powerful Wolf bellowing in his raspy style, there are few recordings that equal the powerful force of Spoonful, or, for that matter, any other Wolf/Dixon Chess side. It has been suggested that Freddie King contributed the guitar on Spoonful. In 1962, the song was included on Wolfs second compilation album for Chess, in 1968, Wolf reluctantly re-recorded Spoonful, along with several of his blues classics in Marshall Chesss attempt at updating Wolfs sound for the burgeoning rock market. The resulting album, The Howlin Wolf Album, with its comically bombastic arrangements, Wolf offered his assessment in an interview with Rolling Stone magazine, Man. that stuffs dogshit. The British rock group Cream recorded Spoonful for their 1966 UK debut album, for the American release of Fresh Cream, I Feel Free was substituted for Spoonful. The song was released in the US later in 1967 as a two-sided single, the unedited studio version made its US album debut on the Best of Cream compilation in 1969. One such rendering, recorded at a Winterland concert and included on their 1968 album Wheels of Fire, the Rock and Roll Hall of Fame listed Howlin Wolfs Spoonful as one of the 500 Songs that Shaped Rock and Roll. It is ranked number 219 on Rolling Stone magazines list of the 500 Greatest Songs of All Time, in 2010, the song was inducted into the Blues Foundation Hall of Fame Classics of Blues Recordings category. It noted that Otis Rush has stated that Dixon presented Spoonful to him, but the song didnt suit Rushs tastes and so it ended up with Wolf, fayetteville, Arkansas, University of Arkansas Press. Moanin at Midnight, The Life and Times of Howlin Wolf, lyrics of this song at MetroLyrics
32.
YouTube
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YouTube is an American video-sharing website headquartered in San Bruno, California. The service was created by three former PayPal employees—Chad Hurley, Steve Chen, and Jawed Karim—in February 2005, Google bought the site in November 2006 for US$1.65 billion, YouTube now operates as one of Googles subsidiaries. Unregistered users can watch videos on the site, while registered users are permitted to upload an unlimited number of videos. Videos deemed potentially offensive are available only to registered users affirming themselves to be at least 18 years old, YouTube earns advertising revenue from Google AdSense, a program which targets ads according to site content and audience. YouTube was founded by Chad Hurley, Steve Chen, and Jawed Karim, Hurley had studied design at Indiana University of Pennsylvania, and Chen and Karim studied computer science together at the University of Illinois at Urbana-Champaign. Karim could not easily find video clips of either event online, Hurley and Chen said that the original idea for YouTube was a video version of an online dating service, and had been influenced by the website Hot or Not. YouTube began as a venture capital-funded technology startup, primarily from an $11.5 million investment by Sequoia Capital between November 2005 and April 2006, YouTubes early headquarters were situated above a pizzeria and Japanese restaurant in San Mateo, California. The domain name www. youtube. com was activated on February 14,2005, the first YouTube video, titled Me at the zoo, shows co-founder Jawed Karim at the San Diego Zoo. The video was uploaded on April 23,2005, and can still be viewed on the site, YouTube offered the public a beta test of the site in May 2005. The first video to reach one million views was a Nike advertisement featuring Ronaldinho in November 2005. Following a $3.5 million investment from Sequoia Capital in November, the site grew rapidly, and in July 2006 the company announced that more than 65,000 new videos were being uploaded every day, and that the site was receiving 100 million video views per day. The site has 800 million unique users a month and it is estimated that in 2007 YouTube consumed as much bandwidth as the entire Internet in 2000. The choice of the name www. youtube. com led to problems for a similarly named website, the sites owner, Universal Tube & Rollform Equipment, filed a lawsuit against YouTube in November 2006 after being regularly overloaded by people looking for YouTube. Universal Tube has since changed the name of its website to www. utubeonline. com, in October 2006, Google Inc. announced that it had acquired YouTube for $1.65 billion in Google stock, and the deal was finalized on November 13,2006. In March 2010, YouTube began free streaming of certain content, according to YouTube, this was the first worldwide free online broadcast of a major sporting event. On March 31,2010, the YouTube website launched a new design, with the aim of simplifying the interface, Google product manager Shiva Rajaraman commented, We really felt like we needed to step back and remove the clutter. In May 2010, YouTube videos were watched more than two times per day. This increased to three billion in May 2011, and four billion in January 2012, in February 2017, one billion hours of YouTube was watched every day
33.
Billboard Hot 100
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The Billboard Hot 100 is the music industry standard record chart in the United States for singles, published weekly by Billboard magazine. Chart rankings are based on sales, radio play and online streaming, the weekly sales period was originally Monday to Sunday, when Nielsen started tracking sales in 1991, but was changed to Friday to Thursday in July 2015. Radio airplay, which, unlike sales figures and streaming data, is available on a real-time basis. A new chart is compiled and officially released to the public by Billboard on Tuesdays, as of the issue for the week ending on April 15,2017, the Hot 100 has had 1,061 different number one hits. The current number one song is Shape of You by Ed Sheeran, prior to 1955, Billboard did not have a unified, all-encompassing popularity chart, instead measuring songs by individual metrics. At the start of the era in 1955, three such charts existed, Best Sellers in Stores was the first Billboard chart, established in 1936. This chart ranked the biggest selling singles in retail stores, as reported by merchants surveyed throughout the country, Most Played by Jockeys was Billboards original airplay chart. It ranked the most played songs on United States radio stations, as reported by radio disc jockeys, Most Played in Jukeboxes ranked the most played songs in jukeboxes across the United States. On the week ending November 12,1955, Billboard published The Top 100 for the first time, the Top 100 combined all aspects of a singles performance, based on a point system that typically gave sales more weight than radio airplay. The Best Sellers In Stores, Most Played by Jockeys and Most Played in Jukeboxes charts continued to be published concurrently with the new Top 100 chart. The week ending July 28,1958 was the publication of the Most Played By Jockeys and Top 100 charts. On August 4,1958, Billboard premiered one main all-genre singles chart, the Hot 100 quickly became the industry standard and Billboard discontinued the Best Sellers In Stores chart on October 13,1958. The Billboard Hot 100 is still the standard by which a songs popularity is measured in the United States, the Hot 100 is ranked by radio airplay audience impressions as measured by Nielsen BDS, sales data compiled by Nielsen Soundscan and streaming activity provided by online music sources. There are several component charts that contribute to the calculation of the Hot 100. Charts are ranked by number of gross audience impressions, computed by cross-referencing exact times of radio airplay with Arbitron listener data. Hot Singles Sales, the top selling singles compiled from a sample of retail store, mass merchant and internet sales reports collected, compiled. The chart is released weekly and measures sales of commercial singles. With the decline in sales of singles in the US
34.
Wedding music
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Wedding music applies to music played at wedding celebrations, including the ceremony and any festivities before or after the event. There are many different styles of music that can be played during the entrance, during the service there may be a few hymns, especially in liturgical settings. Music can be used to announce the arrival of the participants of the wedding, and in western cultures. Some couples may consider traditional wedding marches clichéd and choose a modern piece of music or an alternative such as Canon in D by Johann Pachelbel. At the end of the service, in Western services, the bride and groom march back up the aisle to a lively recessional tune, the piece achieved popularity after it was played during the wedding of Victoria, Princess Royal to Prince Frederick William of Prussia in 1858. Another popular choice is Widors Toccata from Symphony for Organ No.5, weddings in other cultures have different formats. In Egypt, there is a rhythm called the zaffa. Traditionally, a dancer will lead the bride to the wedding hall, accompanied by musicians playing the elzaff, on drums and trumpets. This is of unknown antiquity, and may even be from the pre-Islamic era, at Jewish weddings, the entrance of the groom is accompanied by the tune Baruch Haba. Siman Tov meanwhile is a celebratory song
